via IMDB
Here we are, folks, last of the reruns. On the horizon: Cyndi Lauper, phone sex and more.
"Maybe you don't like me anymore."
"I like you. I've been liking you for years. I went out with you because I liked you. And we went out again and again because I liked you. I married you because I liked you. When are you people convinced?!"
"I had a job then. I'm a different person now."
"Who?"
"Me without a job."
"You're you without a job. I don't care."
"That's enough for you?"
"Are you kidding? Yes, that's plenty."
"So you still like me?"
"Would I let a complete stranger just vacu-suck my head?"
-- Helen Hunt scores the crown for this batch, which has no shortage of excellent material for her. It's not that Reiser gave a bad performance in any episode, but I'm not surprised she ended up winning the Golden Globe in January 1994. Reiser and MAY itself were snubbed.
-- Jamie begins "Married to the Job" at the top of her game as an executive, skillfully navigating professional responsibilities (mollifying a sensitive client, which results in a lunch date she's going to cancel), social obligations (having to score a block of 16 tickets to a Saturday night performance on Broadway because her boss bragged and promised he could arrange it) and personal jealousy (after she's gotten a colleague to move on acquiring art: "Janine, you're the best. I really, really appreciate it. Bye-bye. ... MBA, my ass."). It's a sequence that's well-acted by Hunt and Cameron Thor (Rick, Jamie's assistant), directed by Thomas Schlamme and written by Russ Woody (Murphy Brown, Cybill).
-- Nearly finished with New York at Night, Paul receives a new producer. Lou (Larry Miller) is a cheerful yutz, a promoted accountant who doesn't even know what film sprockets are*. On the one hand, Miller's funny in the role. On the other hand, MAY has some kahones to do a story arc about Paul dealing with a total philistine. Maybe if Lou had been less of an obvious moron -- Paul seems about ready to throttle him for not immediately recognizing that the film would end at dawn, not dusk -- it would have been more tolerable.
*He also assumes Paul doesn't necessarily know who Woody Allen is.
-- Two future Must See TV stars appear in "Job." Lisa Kudrow debuts as the yet-to-be-named Ursula, who incompetently** waits on the Buchmans while they're trading stories about how awful work was. Farrer (Ken Jenkins) pitched a racist tourism campaign. "Central America: Come take your chances." Jamie saved the day by pretending it was a joke, then came up with a (comparatively) better idea. "Central America: Come home to the Equator." Here's the kicker: Farrer takes credit for it and doesn't even reward Jamie. "A fork! I need a fork! I really, really, really need a fork!"
**It's a step up from the sociopath behavior she exhibited on Friends. No spoilers, please, but I wonder if MAY ended up incorporating that characterization.
-- Jamie says she's going to tell Farrer off, but Paul's doubtful. She's made similar vows, only to get tripped up when he gives her the "I see big things for you" routine. Jamie claims it's not that easy to talk to Farrer, which Paul doubts. "I'll tell him, 'You're working my wife too hard and you steal her ideas. If it weren't for Jamie Buchman, pal, you'd be out of business because, frankly, Mr. Farrer, you got no brains, you have no morals and you got a wife who's built like Don Shula.'" Unfortunately for Jamie, Farrer and his wife just happened to be at Riff's. She responds to this discovery in classic sitcom style, by doing a spittake. The Buchmans consider excuses ranging from Jamie having a twin to Paul having PTSD.
-- Farrer visits Jamie the next day, bearing a belated gift of Cristal. He's not going to fire Jamie. In fact, it becomes apparent to Jamie that he would never fire her. He can't afford to lose her. Forget the insipid gifts, she wants credit. They didn't score the account because Jamie's blonde, they scored it because she's good. Paul arrives to catch Jamie quitting and finally saying exactly what she thinks of Farrer, his incompetent operation and his pretensions. It's a liberating moment for Mrs. Buchman***, but she'll eventually be hit with the reality of having lost her job. The big, noisy realization happens while Paul and Jamie are at the movies.
***Who left the office with her belongings, a six-pack of Cremora containers and a fax machine she gifts to Fran.
-- Jamie begins "So I Married a Hair Murderer" (Hey, It's 1993!) with plans to do absolutely nothing and the opportunity to observe how tense people look before they go to work. Intending to finally read Jane Austen's complete works, Jamie gets distracted by a Geraldo on gay pets and even more so by a commercial for the Vacu-Trim II. Paul, meanwhile, is driven crazy by Lou's childlike antics (film ends up unwound) and Jamie's unharnessed energy. "Hi, sweetie. ... What? ... I'm kind of right in the middle of ... No, how would I know what you found behind the refrigerator? ... I don't wanna take a guess. ... A human head? ... Raisins? Okay, good."
-- Directed by Schlamme, "Murderer" was written by the team of Andrew Gordon & Eileen Conn, who'd hang around for the next two seasons. The story is okay -- of course Jamie is going to throw herself into things like rearranging the furniture or making lasagna with Rice Krispies -- but the acting carries this episode. In fact, I'd say Reiser's best work in this batch happens during "Murderer." I normally think of Paul as the oddball of the Buchmans, but he's not too shabby as the straight man.
-- Awoken at 3 a.m. to the sound of Jamie getting rid of her professional wardrobe, Paul eventually finds out she bought the Vacu-Trim II. "But, see, I really don't need a haircut." "I know. But I really need to give you one." If that's not an exchange to give you goosebumps ... Wearing a hat to hide his shame, Paul continues his torture at work. Lou wants New York at Night to give him a feeling in his chest. "How about a quick upward jab?" And still it goes on ... Jamie visits Paul as Lou's trying to arrange extra cats for the film.
-- "She cuts eight minutes out of my film," Paul tells Ira and Lisa. Like Paul, Ira's a victim of the Vacu-Trim II. Lisa, for her part, is marveling at the experience of being the normal sister. Paul's getting to the point where he wants to claim he's working late rather than seeing Jamie. He enlists Ira and Lisa to hang out with her. They're no strangers to mooching. Thanks to Lisa, Paul ends up spending $103 at Riff's. Buying a round for the boys at the bar will do that. Lisa gets her comeuppance with a bobcat-style hairdo, courtesy of Jamie. "Look, I have been trying to take care of her all my life." "Actually, the other way around." "Whatever! She's your responsibility."
-- For the second episode in a row, Jamie gets a rude awakening. Paul does pull the working late routine, which is ruined when Lou drops by the Buchmans. He's got a whale of an idea, an animated sequence depicting an interview with the Statue of Liberty. After setting Lou straight about what "just friends" means, Jamie goes to find Paul. He's watching the Three Stooges in peace. Paul's choice of words ("I can't live with him") results in he and Jamie being honest about what's going on. It's not just that she's driving him nuts, it's that she's become quite a nut herself. They make up, but she still doesn't like the Stooges.
-- Paul's cultural shortcomings briefly come up in "The Unplanned Child," directed by Schlamme and written by Jack Burditt (another member of the backstage gang who disappeared by season four). Jamie wants to rent Volvika, a love story about two gymnasts. Paul's disinterest causes her to accuse him of homophobia. He also won't let a man give him a massage and might be uncomfortable with the word "penis." It's a naturalistic conversation, but I suspect it was included more to test what dialogue NBC would allow at 8 p.m. The video store scene also includes Steve Paymer doing a funny Larry Fine impression when he's not being antagonized by manager Ryan Stiles. And, of course, the idea of the "comedy comedy" (twice as funny) genre.
-- It's Halloween, a holiday Paul is such a Scrooge about. "Yes, but I'm a delight on Flag Day." It goes back to the trauma of being dressed like Superman and being tormented by Matty, Felipe and Jesus Escobar, 10-year-old brothers. "They don't respect the uniform." Debbie Buchman (Talia Balsam, making a one-and-done appearance) reveals Paul was a teenager when this happened. If that wasn't enough sibling disrespect, Debbie also notices Paul's hair loss. She's dropping off her son Jed (Bradley Pierce), who can't attend the business (not pleasure) funeral she's going to. It's an inconvenience for every Buchman. Paul's preparing to film a parade (seriously, what the hell is New York at Night about?) and Fran was going to meet Fran. But it's not really Debbie's fault -- her babysitter's got Giants tickets -- and certainly not Jed's.
-- Debbie's obligations keep getting extended, as does Paul and Jamie's time as babysitters. Not surprisingly, it becomes a test run for how they'd do as parents, handling things like the good cop-bad cop dynamic and spilled milk. Debbie was going to take Jed trick or treating and because Paul's shooting the parade, it becomes Jamie's responsibility. She rises to the occasion, making him an adorable Aladdin costume with Murray the camel.
-- Lou, who briefly tries to get Jed in New York at Night, is once again being a pain in the ass. He rearranges the cameras, acts annoying while on a sugar high and nearly causes Paul to fall from the roof. Several flights below, Maggie has a belated introduction to Halloween. "Who is that, dear?" "It's 11-D." "What does she want?" "She seems to be begging for food." Seeing Murray, she asks if the dog's alright. And this was one of the better interactions, it seems. "Aunt Jamie, do you guys like anybody?"
-- Jed's a sweet kid. So sweet he makes Jamie's uterus hurt. She and Paul bicker over how he spent a holiday working rather than being with her and Jed. "What happens when we have a kid we can't return at 9?" She wants to be good at parenting. When it counts, they'll be great. They end the episode bantering about their child inevitably growing up and becoming distant and before that, its natural curiosity for sharp things or even just how anything works.
-- "Natural History," directed by Schlamme, is the last episode written by Steve Paymer. I think it's the best of this batch. Paul's mad because Jamie's wasting what could have been their day together (his first free Saturday in five weeks) so she can keep an eye on Lisa's blind date. Paul points out that Lisa's an adult and can do this alone. After all, Jamie was alone when she met Paul. It was different, she says. They met because of fate. Paul, on thin ice for not disagreeing with the new idea that they met out of "dumb, stupid luck," twists the knife by saying the girl he could have met "wouldn't have made plans with her sister today." "I don't even want to be with you today." The Buchmans' shared anger is enough to make Fran miss being married.
-- Ira, who doesn't want to get sucked into Paul's problem -- since he'll inevitably be the bad guy once Paul likes Jamie again -- is attracted to the now-named Ursula. "You think this boy should call his wife?" "Maybe he could tell her about that blonde girl he's always bringing in here." Ursula's off to her other job. Ira offers her a lift -- on the subway.
-- More frank dialogue, as Lisa, Fran and Jamie discuss sex preferences. Fran likes being on top. Jamie made a cramp in her thigh work for her. " I let out this amazing scream. Paul thought it was him and threw it into high gear. In five seconds we were done, and I was able to stretch." The conversation returns back to whether or not Paul and Jamie's meeting was based on luck. Interestingly enough, Lisa says Fran's always defending Paul, even though she doesn't "live with him like we do." I wouldn't have minded an episode where either Fran ended up with a crush on Paul or Lisa and Paul were confused for a married couple.
-- Ursula's second job is giving tours at the American Museum of Natural History, where Lisa and her date are set to meet. Ira keeps getting rebuffed by Ursula. Paul, asked to film a tourist couple, ends up spotting Jamie and Lisa. Neither Paul nor Jamie has been at the museum since they were children. Coincidence ... or fate? "I want you off this kick by Monday." In other romantic developments, Lisa unknowingly blows it with Jim (Ralph Bruneau), who ends up with Ursula. Ira ends up consoling Lisa. The pair decide to be nice to each other for a while.
-- Paul and Jamie, meanwhile, have been annoying a guard (Ron Frazier) with their noisiness. Things go from bad to worse when Paul gets his head stuck in an illuminated dinosaur mouth. "Wow. I'm like a tuna melt." Paul ends up removing one of the dinosaur's teeth, which gets him and Jamie sent to security. They're banned from ever coming back. "Next time, go to the Guggenheim. They're a little more lenient with hooligans like you." Conversation arrives at Paul and Jamie apparently both having experienced a blackout at the museum. Thanks to a flashback, we (and they) discover they had met as youth. They may be meant to be together, but Paul can't resist one more dig about Jamie making plans with Lisa.
-- Finally, we've got "Surprise," written by Jeffrey Lane and directed by Lee Shallat Chemel. It's Jamie's 30th birthday. Paul doesn't have much luck making Eggs Benedict, but he's doing better than Sylvia. "To my son's wife." It's an answering machine, just another component in the endless war between Paul's women. For what it's worth, Jamie and Ira are friendly now (I mean, he did gift her some seemingly nice shoes). Anyway, Jamie has insisted she doesn't want a party, but expects one anyway. Paul's surprising her with tickets to Tommy and dinner at the Rainbow Room. Ira's got an in at the St. James box office: Ricky (John Fleck), whose sister he stopped dating.
-- Different Times: Two orchestra seats (Row H) at the St. James, bought at the box office, costing $130. It's $109.50 for one seat in Row H today. Then and now, seats H1 and H2 are on opposite ends of the audience. Ricky: You gonna look at her or the stage?" Paul: "The stage." "You planning on talking during the show?" "No." "So, what's the problem?" Ira threatens to get back together with Ricky's sister, which does the trick. "Come back 20 minutes before curtain. I'll see what I can do." "See real hard, Ricky. I got a waterbed." Back at the apartment, the ladies banter about age. Lisa, who eats carefree from the tip of a knife, thinks when Jamie's 60, she'll be 66. And Jamie tries again to get someone to reveal that she's having a party.
-- The answering machine's awful. It's unnecessarily complex and doesn't allow for normal-sized messages. These defects -- not to mention the fact we're just at the start of the cellphone era -- help to keep Paul and Jamie separated for much of "Surprise"'s second half. He got on the wrong train and she heard "wait there" as "Union Square." Once Jamie's downtown and waiting, her shoe breaks. Paul ends up taking a quarter from some subway singers (Suave), rewarding them with a dollar. "Quarter out, buck in. Okay? Okay."
-- Paul and Jamie miss each other, Paul loses his chance to score a pair of fifth row center seats, Jamie finds out she's going to the theater but not which one ("Oh, God, I hate his mother!"), Paul unwittingly steps smoothly between a pair of jugglers doing their act and the Buchmans end up reunited outside the St. James. "Jamie, can you hear me?" They've missed part of act one, and Jamie's not thrilled about not being next to Paul. For that matter, they apparently don't try for a refund or to reschedule. Jamie just wants to go home. "I can break my new answering machine." All's well, however, as she and Paul end up sharing a concert in the subway.
-- Didja Notice?: Ira has a copy of Scruples ("Surprise").
-- Continuity Corner: Fran was Farrer's regional vice president for five years ("Job"). Jamie spent eight years with Farrer-Gantz ("Murderer"). Paul and Jamie have lived together and in their building for two years ("Child").
-- Hey, It's 1993!: Lou suggests Paul see Manhattan Murder Mystery to check out shots of the city ("Job"). For whatever reason -- I dunno, maybe he sees it every day? -- Debbie won't let Jed watch Aladdin. The Buchmans read Entertainment Weekly, as the May 21, 1993 issue is visible. It's about "the battles over Sliver" ("Child"). Posters for El Mariachi, Last Action Hero and Manhattan Murder Mystery are seen in the subway ("Surprise").
-- The Total Filmmaker: New York at Night requires Paul and Warren to interview someone in Queens. Later, Lou suggests ending animation depicting Lady Liberty awoken by her alarm clock ("Job").
-- Today in Bit Players: Marva Hicks debuts as Remy, Paul's latest receptionist-assistant. Don't get too attached to her, as she makes only two appearances in this batch ("Job" and "Child"), then two in season three. I'm trying to remember if any member of Paul's crew lasted beyond a handful of episodes.
-- Today in Other Musicals: Farrer claims he golfs with Chita Rivera, resulting in Jamie's attempt to score all those tickets to Kiss of the Spider Woman ("Job"). Lou isn't just a suit. He directed a production of Damn Yankees which Warren was unimpressed by. Paul sarcastically claims "For better for worse, for richer for poorer" is from Brigadoon while Jamie's mind is racing ("Murderer"). A poster for Crazy For You is also in the subway. Finally, I'm pretty sure the establishing shot of West 45th Street and its theaters is from a few years earlier ("Surprise").
-- Before the Credits: Murray learns from back to back phone messages that he's not getting a walk anytime soon ("Job"); Jamie embellishes her résumé ("Murderer"); Paul tries not to disturb a sleeping Jamie and score a piece of cake at the same time -- "Don't eat that." ("History").
-- Under the Credits: Paul wakes up to see Jamie washing their windows ("Murderer"); Lou, still on a sugar rush, tosses down a candy corn and causes a car accident ("Child"); Paul is able to get the dinosaur to "sit" ("History").
-- And a special one for "Surprise": Suave sings the theme song, which Paul recognizes but can't place until they get to the words "mad about you." This is especially funny for me, since I used to think it was Reiser's voice in the opening credits.
-- Ratings Roundup: A range of 11.9 (for "Surprise") to 12.8 ("Murderer" and "History"). During this batch, MAY and The Simpsons often alternated the honor of winning 8 p.m. The streak was broken on Thursday, Nov. 11, when Missing Persons came in first. Elsewhere in the hour, Wings is easily beating The Sinbad Show.
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